 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Oct 1, 2013 - 2:10 PM
|
|
|
|
By: |
mstrox
(Member)
|
I guess you missed HOW TO TRAIN YOUR DRAGON a score that will takes its place amongst the finest EVER wriiten
brm
The fact that so many people feel that way has always been confusing to me - I don't even count HTTYD among Powell's best, let along film music's best. I prefer Evolution, Chicken Run (w/ HGW), Shrek (also w/ HGW), X-Men 3, and Horton Hears a Who, personally, over HTTYD. Diff'rent strokes for diff'rent folks, I guess.
(I'm not in the anti-Zimmer/RCP crew, btw, just never really got the acclaim for HTTYD)
|
|
|
|
|
|
I guess you missed HOW TO TRAIN YOUR DRAGON a score that will takes its place amongst the finest EVER wriiten
brm
The fact that so many people feel that way has always been confusing to me , I don't even count HTTYD among Powell's best...... .....
no comment necessary
{sigh}
brm
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Oct 1, 2013 - 3:42 PM
|
|
|
|
By: |
facehugger
(Member)
|
A good and relatively balanced documentary. The progressive "dumbing down" and homogenization of film music can't be solely pinned down to Zimmer et al. It's a symptom of a larger disease. Hollywood continues to try to come up with the perfect blockbuster that will appeal to as many people as possible and hence make as much money as possible. I personally believe that this has two implications as far as film music goes.
Firstly, there's a tendency to use music having a uniform sound as that's what the audience is expecting. This uniform sound is increasingly that of Remote Control composers. Using a different sound approach risks alienating a portion of your audience who expect that standard blockbuster sound. God forbid they should be required to think about what the music is trying to convey rather than having the music spell it out for them.
Secondly, there's an increasing tendency to revise films up to the last possible minute in response to audience screenings and due to FX delivery deadlines. This obviously favors composers that can work quickly. The simplistic writing and the use of writing teams obviously also favors Remote Control style composers for this reason.
This isn't Zimmer et. al's fault per se, in my opinion. It's a symptom of a larger problem in Hollywood with production companies increasingly afraid to take any risks. I've yet to see a single blockbuster this year that really inspired me in any way. Increasingly, the smaller scale and independant films are where the real interest is, both in film itself and film music.
Chris.
Exactly this.
And I believe the reason for the increase of risk aversion is the increased budget of blockbusters, which is in turn a result of the bigger profit derived from new distribution and promotion channels (the Internet). --Bigger budget/cost, more severe risk aversion. Economics 101.
Since the advent of high-speed Internet, decline is rampant across all forms of "entertainment" industries (films, books, music and video games).
The only effective way to fight the decline is to stop paying for the shit.
|
|
|
|
|
|
|
|
|
|
|
TO KHAN- Dan the man, never gets mad. I hope you are having fun on this board, because I am .Why shouldn't I? money, girl, love, success, morality and when that next life comes, man that is going to be fun for me. I assume all of these things are true with you as well.ENJOY.
|
|
|
|
|
|
delete
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Heck, for all the traditionalists out there, you need to look no further than Murray Gold's brilliant DR. WHO scores.
I really don't get all the love for Murray Gold. All of his work from WHO I've heard sounds pop-inspired, dumbed down, facile, banal and very predictable.
What have you heard?
|
|
|
|
|
|
Are people on this board bashing Zimmer AGAIN?????!!!
My Lord.
If he is such a hack, why do ya think successful directors like Nolan, Scott, Howard, MALICK
etc. etc use him.
Not to bash Zimmer but your reasoning doesn't pass muster.
Because those directors are either:
(a) control freaks who likes to have a lesser man following orders with a firm "YesSir!" (Ridley Scott and Malick --why do you think Ridley broke away from Goldsmith and Horner got angry with Malick?) or
(b) one with bad taste in music (Nolan -- The batman films would be elevated to a greater level with a more complex post-modern score; same for Inception) or
(c) plainly mediocre Hollywood conformist (Howard). Seriously, who cares about Ron Howard? Guy made some decent films, yes. But an auteur he is not.
id...id... idi...
|
|
|
|
|
|
Are people on this board bashing Zimmer AGAIN?????!!!
My Lord.
If he is such a hack, why do ya think successful directors like Nolan, Scott, Howard, MALICK
etc. etc use him.
Not to bash Zimmer but your reasoning doesn't pass muster.
(c) plainly mediocre Hollywood conformist (Howard). Seriously, who cares about Ron Howard? Guy made some decent films, yes. But an auteur he is not.
i AGREE WITH YOU ABOUT hOWARD
I listed four "sucxcessful" directors that cover a wide spectrum of styles , from"auteur" to "mainstream"
My fairly simple point being Zimmer 's adaptability and range makes him an in demand composer:
Just like Goldsmith in his prime.
sheesh!
brm
|
|
|
|
|
|
|
|
|
|
Are people on this board bashing Zimmer AGAIN?????!!!
My Lord.
If he is such a hack, why do ya think successful directors like Nolan, Scott, Howard, MALICK
etc. etc use him.
Because those directors are either:
(a) control freaks who likes to have a lesser man following orders with a firm "YesSir!" (Ridley Scott and Malick --why do you think Ridley broke away from Goldsmith and Horner got angry with Malick?)
That's not a particularly good reading of what Horner said about his collaboration with Malick.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
